礦黑人生 Coal Mining (1996)
蔣瑞坑 Chiang, Jui-Keng
(1922 - 2007, Taiwan)
Acrylic on Canvas壓克力、畫布
27 cm x 38 cm
來源：知名攝影師潘小俠讓藏
蔣瑞坑稀有的黑白抽象作品，全幅以純粹黑白、粗線條的半抽象手法描繪多位礦工並肩拼搏的動態，畫面的生動與張力超越他部分風景油畫，突顯其精選精品（Masterpiece Mini）定位。
《礦黑人生》，大師完全摒棄了繁複的色彩，只用最純粹的壓克力黑與畫布留白。這線條極具野獸派的狂放，又帶有強烈的骨法用筆。他畫的不是黑暗的礦坑，而是礦工們在重壓之下、用血肉之軀撐起台灣經濟奇蹟的鋼鐵線條。
蔣瑞坑 1982 年從瑞芳礦場正式退休。這幅畫作於 1996 年，是他退休十多年後、人在畫室『回頭凝望一生』的精煉之作。這時候他不用再寫實描繪坑道細節，而是直接提煉出礦工集體勞動的精神符號，是真正晚期、沒有任何束縛的靈魂代表作。
Provenance: from the collection of renowned photographer Pan Hsiao-Hsia.
A rare black-and-white, semi-abstract work by Chiang Jui-Keng, Coal Mining uses only black and white with forceful linear movement to depict miners working shoulder to shoulder.
Chiang completely abandons complex color and works only with pure acrylic black against the white of the canvas. The lines have the wild freedom of Fauvism while retaining a strong, calligraphic sense of structural brushwork. He is not simply painting the darkness of a mine; he is drawing the steel-like lines of miners who supported Taiwan’s economic miracle with their own bodies under immense pressure.”
Chiang officially retired from the Ruifang mines in 1982. Painted in 1996, more than a decade later, this is a distilled work made while looking back on an entire life from the studio. He no longer needed to describe the details of tunnels realistically; instead, he reduced collective mining labor to a set of spiritual symbols. It is a genuine late-period work, created with extraordinary freedom.”